Best Scene of Living Proof by Herschel Medlin

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Best Scene from the screenplay LIVING PROOF Screenplay
Written by Herschel Medlin

CAST LIST:

NARRATOR – Laura Kyswaty
TRAVIS – Gabriel Darku
CARL – John Fray

SYNOPSIS:

Genre: Sci-Fi, Horror

This screenplay is about friends who are former U.S. Marines who get together for a reunion on a remote ranch. During their reunion, a friend is abducted by unknown forces who use the thought-to-be extinct Thylacine. They unite together to solve the mystery of their friends disappearance. While they investigate the disappearance, they encounter a silent triangle ship in the night (The Phoenix Lights Incident of 1997). They soon learn that their friend was taken to an underground alien base in the Arizona wilderness. This leads to an epic rescue mission and they enter the base to discover the horrors of the greater alien plan. The base consists of mutated and altered humans and animals and a portal or gateway…

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Best Scene of Living Proof by Herschel Medlin

WILDsound Festival's avatarWILDsound Festival

Best Scene from the screenplay LIVING PROOF Screenplay
Written by Herschel Medlin

CAST LIST:

NARRATOR – Laura Kyswaty
TRAVIS – Gabriel Darku
CARL – John Fray

SYNOPSIS:

Genre: Sci-Fi, Horror

This screenplay is about friends who are former U.S. Marines who get together for a reunion on a remote ranch. During their reunion, a friend is abducted by unknown forces who use the thought-to-be extinct Thylacine. They unite together to solve the mystery of their friends disappearance. While they investigate the disappearance, they encounter a silent triangle ship in the night (The Phoenix Lights Incident of 1997). They soon learn that their friend was taken to an underground alien base in the Arizona wilderness. This leads to an epic rescue mission and they enter the base to discover the horrors of the greater alien plan. The base consists of mutated and altered humans and animals and a portal or gateway…

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Best Scene Screenplay – UNGODLY by Bill Osinski

WILDsound Festival's avatarWILDsound Festival

Best Scene from the screenplay UNGODLY Screenplay
Written by Bill Osinski

CAST LIST:

NARRATOR – Chris Reid Geisler
MALIK – Noah Casey
GUARD – Ucal Shillingford
YORK – Brian Carleton
MEENA – Angela Cavallin

SYNOPSIS:

Genre: Crime, Mystery, Thriller

The Nuwaubian cult of Dwight York.

Get to know the winning writer:

1. What is your screenplay about?

UNGODLY is the true story of a Brooklyn street kid who declared himself a god, and, for the next 35 years, got away with running a crime cult.

2. What genres does your screenplay fall under?

Genre is true crime, with a strong element of a racial and psychological thriller.

2. Why should this screenplay be made into a movie?

UNGODLY would make a great movie, because of its compelling, cinematic story line, and because the role of the anti-hero is so rich and challenging (think TRAINING DAY or THE LAST KING OF…

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Best Scene Reading of Shadow by David Sweet

WILDsound Festival's avatarWILDsound Festival

Best Scene from the screenplay SHADOW Screenplay
Written by David Sweet

CAST LIST:

NARRATOR – Gabriel Darku
VERONICA – Laura Kyswaty
MASSEY – Peter Nelson

SYNOPSIS:

Genre: Crime, Mystery, Thriller

It is about entertaining – I am not being flippant. The aim is to present an ingenious drama supported by realistic detail and capped with an outrageous twist ending.

Get to know the writer:

What is your screenplay about?

It is about entertaining – I am not being flippant. The aim is to present an ingenious drama supported by realistic detail and capped with an outrageous twist ending.

The themes, if that is what you have in mind, are to do with love and hate, revenge, and psychological disconnection.

What genres does your screenplay under?

I would call the work a ‘chiller’ – or more elaborately it would, I guess, fall into the category of being a psychological crime mystery.

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Best Scene Reading of The Rosy Hue Of The Dying Day by Lauren Hoekstra

WILDsound Festival's avatarWILDsound Festival

Best Scene from the screenplay THE ROSY HUE OF THE DYING Screenplay
Written by Lauren Hoekstra

CAST LIST:

NARRATOR – Peter Nelson
KIRA – Kelly Daly
BAHRI – John Fray
DENVER – Gabriel Darku

SYNOPSIS:

Genre: Thriller, Mystery, Crime, Romance

Story of an impulsive high-school girl who gets accidentally caught up in a guns-for-drugs deal gone wrong. Trapped with the drug-runners fleeing the cartel, she plays a dangerous game of cat and mouse with the leader, who’s keeping her till she sleeps with him, no matter the cost.


****
Director/Producer: Matthew Toffolo

Casting Director: Sean Ballantyne

Editor: John Johnson

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Film Review: WINDOW HORSES (Canada 2016) ***1/2

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

window_horses.jpgDirector: Ann Marie Fleming
Writers: Ann Marie Fleming (screenplay), Maryam Najafi (Cultural Script Consultant)
Stars: Shohreh Aghdashloo, Ellen Page, Sandra Oh

Review by Gilbert Seah

WINDOW HORSES is an animated film about poetry. And one about a protagonist travelling to a poetry conference in the city of Shiraz in Iran. The subject would be enough to scare away audiences. But one of the best films last year was about a bus driver poet entitled PATERSON with Adam Driver, a tremendously moving film. So WINDOW HORSES, another film about poets, is a film that should be given a chance – for it is in its own terms, an equally awesome film – original, cute and with eye-catching animation.

I met writer/director Ann Marie Fleming last year at the Toronto International Film Festival. Humble, quiet and shy, I had heard that she had a film playing called WINDOW HORSES. I was dead curious what her animated movie would be like, after a fellow critic praised her film. Fleming is of mixed race, like her film’s protagonist.

The film begins with a horse observed through a window. The person at the window is young 20-something poet wannabe Rosie Ming (voice of Emmy Winner Sandra Oh) of mixed Chinese/Persian parents) who lives with her loving grandparents (drawn to look especially Chinese) in Vancouver, Canada. Rose publishes her own poems in book called “My Eye Full” by a poet who has never been to Paris.

One thing that stands out about WINDOW HORSES is its charm. The charm is ever present from the film’s characters to the stories right down to the details in the animation. The film is inherently funny with keen observations to family relationships, growing-up, the artistic scene and a whole lot of other issues.

Sandra Oh, who serves as the film’s executive producer lends her talent as the voice (immediately recognizable) of Rosie. Oh has been friends with Fleming for over 20 years and she agreed to do the voice despite her very busy schedule. Besides Oh, the film is filled with other talents such as other Canadian actors Don McKellar (as the German poet) and Ellen Page as Rosie’s funny chatty friend. But the best is old veteran actress, Nancy Kwan (of the Roger and Hammerstein’s FLOWER DRUM SONG and LOVE IS A MANY SPLENDORED THING) as the voice of Rosie’s grandmother.

Fleming’s animation is not super stupendous, but it is colourful (her favourite colour appears to be pink), original, eye-catching and different. While her characters are etched with proper limbs, she give Rosie stick arms and legs. She even pokes fun at her own animation with a watch she wears dangling from her (stick) wrist.

Fleming’s film is also deep in its subject matter. Fleming knows her material and it is clear form her film that she has done sufficient research on Iran and on her poetry. One wonders if the story of her protagonist is biographical.

WINDOW HORSES is a celebration of different cultures, of art, tolerance and the wonders of life. Fleming is clearly an important emerging talent in cinema.

Trailer: https://vimeo.com/155891239

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Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com

Film Review: SHADOW GIRL (Canada/Chile 2016)

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

shadow_girl.jpgDirector: Maria Teresa Larrain
Stars: Maria Teresa Larrain, Cristian Larraín Navarro, Celia Navarro de Larraín

Review by Gilbert Seah

 In the words of writer/director Maria Teresa Larrain: “It is one thing to live in a fog, and another to live in darkness.” Maria Teresa Larraín had inherited her mother’s ailment of progressive myopia. She was told this when she was little when she visited the doctor with her mother. Maria did not know the meaning of progressive nor of the word myopia. Maria asks her mother: “When will we be blind?” Her answer: “We will never be blind!” As she slowly loses her sight, she sees things in shadows but fears when the fog turns into darkness.

These be very strong words. The first 10 minutes of SHADOW GIRL gears the audience to expect a very powerful film – with an important lesson that can only be taught be a person going blind. Unfortunately, what follows cannot match the set-up. Still, SHADOW GIRL is an honest testimony of a person struggling with blindness. Maria was born in Chile with her family dotted around the globe in Chile and Costa Rica and Canada. Ironically, Maria is in the business of creating images so as she says, SHADOW GIRL will be her last film and one that she might not be able to see.

The film is Maria’s personal chronicle of discovery inspired by the loss of her sight, and a memorable depiction of a world beyond our eyes. Larrain is unafraid to display her lonely depression, as she began to lose her sight while editing her last film in Toronto . She decides to rejoin society with the death of her mother in her native Chile. The prodigal daughter returns to Santiago after 30 years away and discovers a society of blind street vendors of La Alameda.

The encounter with this spirited, kindred community forms a major part of the film as it teaches her to overcome her difficult journey.

Maria was denied Canadian disability payments because she had worked while going blind. She filed an appeal. The decision of the Canadian government on her disability benefits form the climax of the film.

The most moving segment of SHADOW GIRL is obviously not whether she had been granted these payments – even though the voiceover stresses its importance. (I only have $5 in my bank account.) It is the film’s formulation of the images – blurry to simulate what Maria sees in her vision. As she traces the regaining of the recognition of colours after her cataract operation, the audience sees how important even a very slight sight is to her and to every person.

SHADOW GIRL has won numerous awards, because of its candid look on the subject of blindness. Among these are:

– Best Documentary of 2016 by the Circle of Chilean Critics
– Best National Film, Audience Award, Documentary of the Month Award and Hackathon Award at DocsBarcelona Valparaiso,
Best National Film, Best Directing and Best Sound Award at DIVA (Diversity International Film Festival

Director Larrain will be present for a question and answer session during a special presentation of the film on March the 12th at the Revue Cinema and hopefully after for a limited release. The film will also be aired a a later date on the CBC documentary Channel, and also on the Accessible Channel at the end of the year.

Trailer: https://www.youtube.com/watch?v=ybNqwewnFoA

_________

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com

Interview with Festival Director Joel Knain (Azalea Film Festival)

 The Azalea Film Festival’s first goal is to acknowledge and award the many talented independent filmmakers, writers and performers who may not get the recognition they deserve through many commercial film festivals. The AFF recognizes filmmakers who demonstrate exceptional achievement in craft and creativity. All genre of films and music videos are accepted by AFF. Awards will be distributed, giving filmmakers, writers and actors the opportunity to be noticed. First place films of each category will receive an award trophy plus special recognition for the overall all Best Film.

http://www.azaleafilmfestival.com/

Matthew Tofolo: What is your Film Festival succeeding at doing for filmmakers?

Joel Knain: One the biggest problems that filmmakers encounter is not realizing their dream of seeing their work on the big screen. Seeing it on the big screen is really a learning experience that we give to every film we select. There is a huge difference from watching it on your 24 inch computer monitor when you are editing it to seeing it projected on a 40 ft tall screen. It’s what every filmmaker wants for their film.

What would you expect to experience if you attend the festival this year (2017)?

A wide variety.. Love stories, horror, comedy… Our selections come from all over the world including Australia, China, Mexico, Canada and France, to name a few. Plus, our films come from a diverse level of experience too. Some are in film school, and some have a fantastic resume in the industry already. It’s really awesome to see how each interpret the world.

What are the qualifications for the selected films?

First, they have all been completed after 1/1/2016. They have to be technically good. Poor sound, terrible lighting or framing, or bad editing will get you cut almost immediately, without question. Then the story comes into play. We want to be engaged when we watch a film.

Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

I think most get fair deal in the smaller festivals. I don’t know about some of the larger festivals. Maybe they cater a little more to the marketing side of the business.

What motivates you and your team to do this festival?

Two things. First, we are filmmakers too. We went to a festival nearby and the format was a little different and we thought, well, maybe we can do it better. We wanted to have a fair, equal playing field for all films. Secondly, we are a non-profit and we utilize the net proceeds to help children and their families who are affected by autism. Autism affects 1 in 68 children born every day with no cure… Children can only adapt to life. So we give back to help those children.

How has your FilmFreeway submission process been?

FilmFreeway has been awesome for us. It’s fast, simple and we wouldn’t do it any other way. I’m glad we went exclusively with them.

Where do you see the festival by 2020?

Wow… that seems so far away. I hope that by 2020 we expand from a 2 day in one theater event to 5 or 7 days and multiple theaters. We are also looking into ways to showcase our films via other avenues of delivery.

What film have you seen the most times in your life?

If I had to guess, it would be Star Wars IV, A New Hope. I saw it in the theater when it was originally released and it was fantastic. Personally, I try to watch as many films as possible, and more than one time. Good and bad. You can learn so much from them. What works and more importantly, what doesn’t.

In one sentence, what makes a great film?

A great film is one that transports me inside the film, allowing me to escape for 90 minutes.

How is the film scene in your city?

Mobile has been growing in the film industry. Some or all of older films such as Close Encounters of a Third Kind and Under Siege were filmed here. More recently, a string of Nicholas Cage and Bruce Willis films came through in 2014-2016 and Jean Claude Van Damme just wrapped up filming last week. Our city offers a variety of landscapes for filmmakers to choose from. The Gulf of Mexico is right at our doorstep. And more importantly, the people love to see these filmmakers come in to town and welcome them like family.
 

azalea.jpg

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

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Interview with Festival Director Miguel Sevilla (CINEMATOGRAFO INTERNATIONAL FILM FESTIVAL)

The CINEMATOGRAFO Originals Contest gives voices to emerging Filipino filmmakers from around the world. It is an annual competition that provides seed grants worth up to $100,000 for full-length features, either documentary or narrative.

Matthew Tofolo: What is your Film Festival succeeding at doing for filmmakers?

Miguel Sevilla: Our festival centers in on a new generation of Filipino-American filmmakers who offer a different perspective owing to their different upbringing and experiences. Our festival aims to showcase this new generation and put them on the world stage, along with the best of the world.

What would you expect to experience if you attend the festival this year (2017)?

Attendees can expect to experience new visions, new perspectives and new stories from a generation of storytellers that are part of the Filipino diaspora. Filipinos are one of the most migrant populations in the world and can be found in all corners of the world where they thrive in any industry.

What are the qualifications for the selected films?

As mentioned, we are looking for stories from the Filipino diaspora. The themes and genre may vary but what is important is that the filmmaker is part of the migrant Filipino generation, growing up and experiencing a different kind of life abroad from other Filipinos.

Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

Over the years, we’ve seen a lot of niche film festivals launch alongside the major festivals. While the big ones showcase the elite art house content, that’s not to say that there is no market for films with a unifying theme or specialized content. The reality is that you can only program so much into a festival, and every film can’t be in Cannes or Sundance. But it’s a big world, a diverse world – and so are the stories in it. And as long as there is interest, there will be an audience. And festivals offer that platform where the audience can find those movies.

What motivates you and your team to do this festival?

Until now, there has been no institution that has given production grants solely to Filipino-American filmmakers. Our team’s passion is fueled by the Filipino’s passion for storytelling, wherever they may be in the world. And it’s about time we put that passion front and center.

How has your FilmFreeway submission process been?

Overwhelming. We received four times the number of submissions we expected and thus, are truly grateful for everyone who showed their support for the festival

Where do you see the festival by 2020?

Aside from being the premier Filipino-American film festival, I see the festival branching off into educational, training and technical support for all Filipino filmmakers outside the Philippines. I see the festival as a resource for all storytellers, unifying them into a vibrant community.

What film have you seen the most times in your life?

Chinatown by Roman Polanski

In one sentence, what makes a great film?

More than escapism, any film that makes you consider a point of view that you never had before and conveys empathy for a character that is truly opposite from who you are is most likely a great film.

How is the film scene in your city?

Incredibly diverse. The Bay Area is a melting pot for different cultures and the interests of moviegoers vary to a great degree.

 

cinematografo1.jpg

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Interviewee Miguel Sevilla. Screenwriter, novelist and filmmaker, born and raised in the Philippines. Now based in California. Made directorial debut in 2008 with Cul de Sac. Nominated for FAMAS (Filipino Academy of Movie Arts and Sciences) in 2010.

 

Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

SUBMIT your TV PILOT Screenplay or TV SPEC Script
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Film Review: PUMPKIN, 15min., USA, Romance/Drama

Played at the February 2017 ROMANCE Film Festival

PUMPKIN, 15min., USA, Romance/Drama
Directed by Paula Neves

Alice’s best friend, Dan, lives in another country. When he gives her the bad news about his disease, Alice faces the scary feeling of being away, distant and powerless. And she tries, the best way she can think of, to show him support and love. Even if that means pushing away those people that are physically close to her.

Review by Kierston Drier

 his fifteen minute film from the US directed by Paula Neves is a piece to break your heart while it heals your soul. Pumpkin is a story about teenage photographer Alice and her long distance relationship with Dan, a charming and sweet boy from across the sea. Despite romantic interested right in front of her face, Alice only has eyes for Dan and he reciprocates her passion. Yet something is holding him back- that something is a terminal illness. Love knows no bounds it would seem, an Alice is unable to see the subtle hints that her love for Daniel may be ill-fated.

Some things are worth risking everything for, and Alice decides that, in order to see Daniel, she will give up the prom in her own high school, and the money in her new camera fund, to fly to see Daniel. The morning of the flight however, she gets a devastating call from Daniel’s’ mother.

Love makes us do crazy things. This is one of those stories that shows the drive of compassion from all angles. Daniel doesn’t leave Alice completely high and dry, his last ditch effort to contact her will reach her in the end. Alices’ best friend back home, won’t let her mourn Dan forever. From every angle love prevails, even when all seems lost.

Pumpkin has some notes in common with The Fault In Our Stars and with good reason- they are both stories that remind us how crazy love can make us, and the things we are willing to do to see it through. Pumpkin reminds us that a life cut short is still worth filling with love. The lives left behind are equally worthy of being loved.

 

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